Blessed Is the One Whose Bowels Can Move

The CCLI charts may not reflect it, yet one thing many Christian churches discovered as the pandemic raged across the world (and violence at home and abroad) was the need for songs of sacred lament. Unfortunately, many churchgoers, especially those who identify as practitioners of contemporary Christian worship, have cultivated a gap between the biblical give and take of praise and lament revealed most poignantly in the book of Psalms. This chasm between praise and lament is a problem, as a liturgical discourse about disastrous events is weakened. Churches sing congregational songs of praise in the church, the chorus of 'what ought to be'. Meanwhile, outside the church, artists in genres as diverse as folk and rap sing the chorus of what frankly 'is'. For the church to be transformative, it must be grounded in what is (lament) and aiming toward what ought to be (praise). This is the value of the cycle of praise and lament in the church's liturgy. This article explores the impact of CCM (contemporary Christian music) and praise and worship culture as it laments the loss of lament in Christian worship. The essay articulates the missing sense of 'Truth' in contemporary congregational music, as defined by Don Saliers' Worship Come to Its Senses. The article closes by amplifying emerging Christian songwriters reintroducing lament to contemporary worship

Aesthetics · Art · Lament · Literature · Liturgy · Praise · Theology · Worship · Biblical Studies and Interpretation · History · Media, Religion, Digital Communication · Pentecostalism and Christianity Studies · Philosophy

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